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| an individual sound that has both fundamental frequency and timbre |
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| a notated pitch with duration |
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| a brief succession of notes from which a melody grows through the process of repetition, sequence, and transformation |
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| a singable, memorable melody with a clear sense of beginning, middle, and end |
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| the principal musical idea in a given section of music |
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| a melody that features pitches that are relatively close together |
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| a melody that features pitches that tend to jump around |
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| term that refers to the number of melodies present and the relationship of melody or melodies to accompaniment |
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| two or more simultaneous melodic lines of equal importance |
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| one predominant melodic line. With all other melodic material or accompaniment or secondary importance |
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| Basso continuo (thorough bass) |
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| the group of instruments that played the bass line and filled the functional harmonic progression (form of early improvisation) |
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| Latin-(smooth, long vowels, and few sharp consonants) |
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| the melodic theme of the fugue |
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| the first section of a fugue in which the subject is introduced in each voice |
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| a stage spectacle that combines scenery, action, literary drama, and continuous (or almost continuous) music into a whole greater than its parts |
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| the sung commentaries inserted between acts of stage plays in the late Renaissance. |
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| a solo vocal declamation that follows the inflection of the text, often resulting in a disjunct vocal style. |
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| A lyric song for solo voice and orchestral accompaniment, generally expressing intense emotion |
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| an extended work for chorus, soloists, and orchestra; typically a sacred story performed without action or costumes and not part of any church service |
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| Shorter than an oratorio, but similar in most ways; both sacred and secular ________ were written; Lutheran church ________ were part of the Sunday worship service. |
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| During the Baroque era, the Mass was based upon the five basic sections of the Ordinary of the mass, but they might be subdivided into sections. |
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| a Latin language cantata based upon the story of the Virgin Mary |
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| an oratorio based upon the events of Christ’s crucifixion |
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| a cantata featuring an a cappella chorus |
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| a melodic idea that returns periodically; a musical refrain. |
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| a passage that sounds like the exposition of a fugue in a piece that is not otherwise a fugue. |
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| free instrumental piece of fairly large dimensions, in an improvisational style |
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| virtuoso composition in a free and rhapsodic style |
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| an instrumental form irregular in form and suggestive of improvisation |
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| instrumental work intended to precede a larger work, usually in an improvisatory style |
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| a variation form in slow triple meter, based on a short repeated bass line melody |
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| a repeating melody, usually in the bass, throughout a vocal or instrumental composition |
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| a variation form in which the variations are based upon a repeated chord |
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| “everything”, referring to all of the players, including soloists |
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| refers to the orchestra playing, but not the soloists |
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| “little ensemble”, referring to the soloists in a concerto grosso |
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| Orchestral/Ripiendo Concerto |
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| scored for strings and basso continuo alone; no particular soloists; the first violins usually play the melodic material |
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| a single instrument soloist plays some or most of the melodic material |
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| features two or more soloists |
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| “everything,” referring to all the players, including soloists |
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| refers to the orchestra but not the soloists |
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| “little ensemble,” referring to the soloists (in a concerto grosso.) |
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| the enlightenment principle which downplayed national differences; in music this was reflected in a common international musical style. |
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| the performance of music as a hobby |
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| the first note in a musical scale (tonic triad: the triad based upon the first note in the musical scale) |
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| the fifth note in a musical scale (dominant triad: the triad based upon the fifth note in the musical scale) |
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| a resting place in a musical phrase; a musical punctuation mark |
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| Half Cadence (also called an Open Cadence) |
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| a cadence which resolves to the dominant, thus creating tension |
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| Full Cadence (also called a closed, authentic, or standard cadence) |
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| a cadence that resolves from the dominant to the tonic and creates some sense of rest |
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| Deceptive Cadence (also called a false cadence) |
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| a cadence that resolves, but not to the tonic |
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| Plagal Cadence (also called an “amen” cadence) |
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| a cadence which sometimes follows a full cadence at the very end of the passage |
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